The Barber Institute of Fine Arts’ Post

I was helping at the All Good Bookshop recently and someone asked me why. Why I put so much into it as a volunteer, and why others do. And I thought that was worth an answer. A lot of it is the same reason I and a handful of others set it up in the first place. Because we want somewhere like it to exist. And not many places do. And other than the (part-time) manager, all of us involved are volunteers. It's increasingly difficult to find somewhere supportive and accessible for artists. This is why I honestly believe the groups and events we run are important. At the bookshop, we run groups for writing, art, film and photography, music, reading, board games, crafts, repairs, knitting... all kinds of things. I've been told by more than one person that these groups are the only socialising they get. And that's a hell of a reason in its own right. But also, people have met and collaborated as a result of us being there. That's really exciting. As a venue, we're trying to encourage people to do artistic things, even if they haven't before. And we do it in a low-cost way - we're also quite clear to people that, if you can't afford to join a group, come anyway and talk to us about it. It's increasingly difficult to go somewhere that's relatively safe and welcoming and feel encouraged to do something, and that won't cost a lot to do as well. And that's a big part of the reason why I'm doing this at least - because that's an important thing for local areas. With the lack of funding for arts, community arts isn't the answer - but it's part of an answer. It's something. And I've seen how rewarding it is to encourage and help other artists when we can. We've added an art gallery, and for some people involved, we'll be their first exhibitions. And that's really exciting. And we're booked up until the Summer. So, overall, that's why it means so much to me and why I support it. Because it encourages and helps people to be creative and to build a low-pressure artistic hub. That's worth some time and effort.

The Visual Arts Manifesto in the UK, supported by 24 visual arts organisations, provides key policy recommendations for the government to address current challenges in the art sector—a valuable initiative that could be replicated in Latin American countries. How? First, we need data about the situation of our artists to propose objective, bespoke, and practical solutions. Currently, there are no studies about this. Second, we need the union of collectives, artists, and art organisations—the more, the better! Third, we need a serious and deep conversation about the situation of the most important, but unfortunately, the weakest link in the chain: the artists.

Read my review in the Arts Paper of “Deserve What You Dream”—on view at NXTHVN through September 1! https://lnkd.in/ehzpufcR

The sub heading for this article in The Times suggests that schools should swap trip to museums and theatres first football club tours and graffiti workshops. Why can’t schools do both? The article says that creative industries are “stubbornly elite preserves”. This is certainly true, but limiting children’s access to theatre and museums won’t address that. In fact, it increases the chances of it staying so. Historically, theatre originates from story telling in communities. We need to encourage more of that. Not just for theatre’s sake, but because the benefits of being involved in creative activities has positive impacts on mental well-being and self confidence. If you don’t agree with this article, go to this web page and comment. Curriculum and Assessment Review - Department for Education - Citizen Space

Hello LinkedIn Network! Alongside my continuing role at Leeds University Union, I am returning to University of Leeds to embark upon my final year of my Global Creative Industries BA. My dissertation will be exploring the question: How does the resurgence of vinyl records in the UK reflect evolving attitudes toward materiality, memory, innovation, and consumption in music? Once tied to American hyper-consumerism, vinyl records have found new life through a Gen Z movement—a rebellion against the fleeting nature of streaming services. In a world that craves instant access, vinyl offers something different: tangible permanence. To encourage reflection and discussion and to gather research, I’ll be curating an exhibition alongside my paper about the Vinyl Resurgence. I’m seeking:
📀 Visual art, sound installations, or mixed media
🎥 Films, documentaries, or experimental works inspired by vinyl culture
🖋 Zines, poetry, or written reflections This exhibition asks: how do we move forward without forgetting? How do we honour the pastwhile embracing innovation? This project is deeply personal for me. My father, who passed away last year from cancer, was a record collector, and vinyl has become a symbol of my own journey with grief—a dual process of holding on while moving forward. This exhibition will reflect how creatives use physical media to explore themes of memory, loss, growth, and the balance between past and future.

🌟 New Blog Post Alert! 🌟 "Rooted in Creativity: Why I became a Teaching Artist" https://lnkd.in/gby_ZH5f COMPAS Teaching Artist Kelley Meister reflects on the lasting impact of educators through a heartfelt family legacy of teaching and creativity. Kelley’s journey highlights the transformative power of teachers. Dive into the inspiring stories of art, community, and resilience. Read more about how creativity shapes lives and fosters connections. 🎨✨ #COMPASCreates #CreativitySavesTheWorld #ArtEducation #TeachingArtists #CommunityImpact #Creativity #EducationMatters #blog #mnblog

This is part two of a post on LinkedIn, because of character count, in which I discuss my thoughts on why an arts institution like the Bellevue is going broke and closing...the original content is from a letter to the editor of the Seattle Times. In short the first part of the post postulates that the museum was not offering the products and services the community found valuable. .....As to the Bellevue, or any other struggling arts institution feeling that they "must"provide a venue for up-and-coming artists. It just isn't so. Up and coming artists have commercial galleries, coops, restaurants, banks, schools, businesses, community centers and more places to exhibit. Financially successful artists as a part of their commercial growth need to earn their audience.  In fact part of the realistic vetting process of whether an artist is going to become popular, self-sustaining, or any other measure is their acceptance among the general public who wants to enjoy and buy their art.  In many ways, museums should be the last place an artist should show,  not the first.  In order to provide a venue for any art a museum has to be profitable. With the bellevue's history of failure over and over again someone should have looked at the premise on which it was operating. If you're not profitable it's because the public doesn't want to pay for your service. In the Bellevue's case as in other museums that have failed it's because customers/ patrons, don't want to see the art you're showing. If an institution wants to survive, fix the problem of profitability, have a product and service customers want to pay for.  

In our latest Fieldnotes blog, we created a list of common public art terms–perfect if you’re new to the field or need a refresher from time to time! Bookmark this handy glossary for your next public art adventure: https://lnkd.in/gj5QpUYt Are there any terms or strategies we should elaborate on? Let us know!

Artistic Expression 🎨 Artistic expression nurtures creativity and self-expression. Encourage various art forms to unleash your child's creativity. 🌟🎭🌟 #LifeSkillsForKids #EarlyEdLifeSkills #SkillfulStarts #ChildhoodSuccess #EmpowerKids #LifeSkillsMatter #EarlyLearningJourney #FutureReadyKids #NurturingIndependence #LifeSkillsFoundation #EarlyChildhoodEducation #EarlyChildhoodSkills

What an insightful article about the perils (and joys) of applying for artistic grants!